They had come to Egypt in 1865, at the invitation of Khedive Isma'il Pasha, to act as legal advisers for foreign companies that were taking part in his modernization program.

The Abbaye de Créteil was a phalanstère community founded in the autumn of 1906 by the painter Albert Gleizes, and the poets René Arcos, Henri-Martin Barzun, Alexandre Mercereau and Charles Vildrac.

He referred to the crash in the Futurist Manifesto: the Marinetti who was helped out of the ditch was a new man, determined to end the pretense and decadence of the prevailing Liberty style.

He discussed a new and strongly revolutionary programme with his friends, in which they should end every artistic relationship with the past, "destroy the museums, the libraries, every type of academy."

In April, the opening night of his drama Le Roi bombance (The Feasting King), written in 1905, was interrupted by loud, derisive whistling by the audience and by Marinetti himself, who thus introduced another element of Futurism, "the desire to be heckled."

Nowadays, the play is remembered through a later version, named Elettricità sessuale (Sexual Electricity), and mainly for the appearance onstage of humanoid automatons, ten years before the Czech writer Karel Čapek invented the term robot.

[7] That year, Marinetti discovered some allies in three young painters (Umberto Boccioni, Carlo Carrà, Luigi Russolo), who adopted the Futurist philosophy.

Marinetti sought to establish an English Futurism and initially had an ally in Harold Monro, editor of Poetry and Drama,[8] a London literary journal.

Marinetti's campaign both threatened and influenced Ezra Pound, who founded his own literary movement, Imagism, and wrote manifestos to publicize it while attacking Futurism.

Writing to Monro, Marinetti said he was saddened by the reviews of Vorticism in the English press unfavorably comparing it with Futurism and would rather have worked in collaboration with the Vorticists.

About the same time Marinetti worked on a very anti-Roman Catholic and anti-Austrian verse-novel, Le monoplan du Pape (The Pope's Aeroplane, 1912) and edited an anthology of futurist poets.

In the fall of 1915 he and several other Futurists who were members of the Lombard Volunteer Cyclists were stationed at Lake Garda, in Trentino province, high in the mountains along the Italo-Austrian border.

Marinetti spent most of 1916 supporting Italy's war effort with speeches, journalism, and theatrical work, then returned to military service as a regular army officer in 1917.

[23] In May of that year he was seriously wounded while serving with an artillery battalion on the Isonzo front; he returned to service after a long recovery, and participated in the decisive Italian victory at Vittorio Veneto in October 1918.

Cappa and Marinetti collaborated on a genre of mixed-media assemblages in the mid-1920s they called tattilismo ("Tactilism"), and she was a strong proponent and practitioner of the aeropittura movement after its inception in 1929.

Cappa's major public work is likely a series of five murals at the Palermo Post Office (1926–1935) for the Fascist public-works architect Angiolo Mazzoni.

In early 1918, Marinetti founded the Partito Politico Futurista or Futurist Political Party, which only a year later merged with Benito Mussolini's Fasci Italiani di Combattimento.

For example, at the end of the Congress of Fascist Culture that was held in Bologna on 30 March 1925, Giovanni Gentile addressed Sergio Panunzio on the need to define Fascism more purposefully by way of Marinetti's opinion, stating, "Great spiritual movements make recourse to precision when their primitive inspirations—what F. T. Marinetti identified this morning as artistic, that is to say, the creative and truly innovative ideas, from which the movement derived its first and most potent impulse—have lost their force.

"[33] Mussolini's mistress, Margherita Sarfatti, successfully promoted the rival Novecento Group, and even persuaded Marinetti to be part of its board.

Towards the end of the 1930s, some Fascist ideologues (for example, the ex-Futurist Ardengo Soffici[34]) wished to import the concept of "degenerate art" from Germany to Italy and condemned modernism, although their demands were ignored by the regime.

[35] In 1938, hearing that Adolf Hitler wanted to include Futurism in a traveling exhibition of degenerate art, Marinetti persuaded Mussolini to refuse to let it enter Italy.

[38] In Gazzetta del Popolo, 21 June 1931, Marinetti proclaimed that "Only Futurist artists...are able to express clearly...the simultaneous dogmas of the Catholic faith, such as the Holy Trinity, the Immaculate Conception and Christ's Calvary.